Shakespeare's complex comedy is very much a play for today: not least because of its emphasis on political corruption and the phoney facades of people in high places. But, while Michael Attenborough's modern-dress production doesn't pursue the contemporary resonances as rigorously as recent versions by Declan Donnellan and Simon McBurney, it is clear, coherent and very good on individual psychology.

In particular, it suggests a strong symbiotic connection between Angelo and Isabella, who are both seen as ﬂawed moral extremists. As Angelo, the puritanical deputy assigned to clean up Vienna, Rory Kinnear is outstanding. At first, he seems a shy bureaucrat astonished by his promotion. Once installed, he visibly grows in authority and then finds himself poleaxed when Isabella comes to plead for her brother's life. Where most Angelos are propelled by lust, Kinnear's is smitten by love: he sighs that Isabella may see him "at any time" and studiously swaps his specs for contact lenses to make a good impression. This doesn't excuse the sexual bargain he proposes: what it does do is suggest that Angelo is a man floundering in unfamiliar emotional territory.

What attracts him to Anna Maxwell Martin's excellent Isabella is her single-minded moral purity. It is easy for the character to seem a prig in her refusal to exchange her virginity for her brother's survival.

But Maxwell Martin plays her as a mirror-image of Angelo: a fierce absolutist forced to wake up to new experience. Her cry of "more than our brother is our chastity" is delivered as a plea to heaven rather than a ringing assertion. She also agrees to the notorious bed trick with a haste born of innocence. And, in the final act, after she has sued for mercy for the fallen Angelo, they stare at each other as if realising theirs would be a natural union.

Not everything in Attenborough's production is on this level. The attempt to evoke a world of corruption through a pair of scantily-clad display dancers is a bit tame. And, while Ben Miles is perfectly decent as the disguised duke who sets the play in motion, he never makes it clear whether the man is a squalid fixer or dispenser of divine justice. But there is good work from Lloyd Hutchinson who plays Lucio as a gossip who likes to pretend he has the inside dope on the city's power-brokers. And there are neat contributions from Trevor Cooper as the bawd, Pompey Bum, forever wincing at ritual gags about his surname, and from Victoria Lloyd as the jilted Mariana. I've seen Measures that create a more vivid Vienna, but the strength of the production lies in its suggestion that it is a play about two imperfect moralists who would, in a better world, make a perfect match.